ChatGPT Summary:
Reminder -- Yes/And, Yes/But, No/And, and No/But: Narrative Tools for
Dynamic Storytelling
Conflict and collaboration are the beating heart of
compelling storytelling. Writers often use structured approaches to dialogue,
action, and character dynamics to keep their narratives engaging. Four
foundational tools in this toolbox are Yes/And, Yes/But, No/And,
and No/But. Each approach creates unique rhythms in a story’s
progression, balancing tension, resolution, and stakes. Let’s explore these
methods, their narrative implications, and how they can be used holistically
within a story.
1. Yes/And: Momentum and Expansion
Yes/And accepts an idea or action and builds on it,
encouraging collaboration and the organic expansion of the story’s world or
character arcs. This approach moves the narrative forward with a sense of
discovery and cooperation.
Example:
Two explorers discover a strange artifact in a cave.
Explorer 1: “This artifact feels warm. It’s alive!” Explorer
2: “Yes, and the symbols on it match the ones we found in the ruins. We might
be onto something big.”
- Result:
The conversation builds momentum. The characters deepen their shared
understanding of the artifact, leading to further exploration and raising
questions about its purpose and origin.
Use in Stories:
- Ideal
for world-building, where details can grow naturally.
- Strengthens
relationships between characters through mutual cooperation.
- Creates
a sense of progression and discovery without immediate conflict.
2. Yes/But: Complication and Partial Progress
Yes/But accepts an idea but introduces a limitation
or complication. It allows partial success while keeping the stakes high,
creating nuanced challenges for characters.
Example:
A hero seeks permission from the council to lead an army
against invaders.
Council Leader: “Yes, you can lead the army, but you’ll have
to rally the factions yourself—and they’re not easy to persuade.”
- Result:
The hero gains an opportunity but faces a new challenge: uniting fractured
groups with conflicting interests. This adds layers of conflict while
enabling forward motion.
Use in Stories:
- Adds
tension without halting the narrative.
- Creates
opportunities for character growth as they overcome obstacles.
- Balances
progress with challenges, maintaining reader engagement.
3. No/And: Escalation and Surprise
No/And denies a character’s goal or expectation while
escalating the stakes. This approach often creates dramatic twists, forcing
characters into crisis or unexpected decisions.
Example:
A detective confronts a suspect with evidence of their
guilt.
Suspect: “No, I didn’t kill him, and if you keep digging,
you’ll find out something you wish you hadn’t.”
- Result:
The suspect’s denial heightens the mystery and tension. The additional
threat raises stakes, propelling the detective deeper into dangerous
territory.
Use in Stories:
- Introduces
unforeseen complications or twists.
- Increases
stakes, pushing characters out of their comfort zones.
- Perfect
for moments of high tension, such as confrontations or turning points.
4. No/But: Deflection and Obstacle
No/But rejects an idea or action while offering an
alternative path. It creates conflict by shutting down the initial proposal but
provides a new direction for the narrative.
Example:
A protagonist begs their partner to flee a war-torn city.
Partner: “No, I won’t leave, but I’ll help you convince
others to evacuate before it’s too late.”
- Result:
The partner’s refusal creates tension but also introduces an alternative
that deepens the emotional stakes. The protagonist must navigate the
partner’s priorities while achieving their goal.
Use in Stories:
- Adds
realism by reflecting compromise or partial resistance.
- Develops
complex relationships between characters.
- Keeps
the story dynamic by forcing adjustments to plans.
Using These Approaches Holistically
Effective storytelling often involves weaving these
techniques together, alternating between momentum, complication, escalation,
and deflection to create a dynamic and layered narrative. Here’s how they can
work in harmony:
- Establish
the World with Yes/And: Use this approach early in the story to build
the setting, relationships, and stakes. Create a foundation where
characters and their goals are clearly understood.
- Introduce
Challenges with Yes/But: Once the groundwork is laid, complicate the
story by introducing obstacles that force the characters to adapt and
grow.
- Escalate
Tension with No/And: As the narrative peaks, use this method to
amplify stakes and force characters into crisis, driving the story toward
its climax.
- Resolve
with No/But: In the resolution, employ this approach to reflect the
bittersweet nature of many endings. Characters may not achieve their exact
goals, but they find alternative paths that lead to growth or closure.
Conclusion
Yes/And, Yes/But, No/And, and No/But are versatile tools
that allow writers to balance progress and conflict. By understanding and
combining these methods, storytellers can create narratives that feel organic,
engaging, and emotionally resonant. Whether you’re writing a sweeping epic or a
tight character-driven drama, these approaches provide a structured yet
flexible framework for dynamic storytelling.
Scenes vs Sequels
K.M. Weiland discusses "Scenes and Sequels" as the fundamental
building blocks of storytelling structure. Here's a summary of her approach:
Scenes
- Goal: The character actively pursues a
specific, concrete goal.
- Conflict: Obstacles arise that prevent the
character from easily achieving the goal.
- Disaster: The scene ends with the character's
efforts failing in some way, propelling the story forward by raising
stakes and questions.
Sequels
- Reaction: The character processes the disaster
emotionally and mentally, reflecting on the consequences.
- Dilemma: The character faces a choice or
crossroads caused by the disaster.
- Decision: The character makes a choice that
leads to their next course of action, setting up the goal for the next
scene.
Rough Sketch Scene:
Scene Hook/Grounded
Summary: I want to show Ash in his current state,
hook the reader, and give him a SMALL want, but one that also serves to flush
out his current state. -- Ash want wants to get his coffee and make it to the
corner chair without having to interact too often or look like he’s as unstable
as he feels.
Beat 1 - No (Coffee/Chair/Avoid people) / And (Ned finds him)
Ash is in a small rural Idaho town, looking out the window,
hallucinating, suffering from PTSD. His interactions with (and avoidance of)
the townspeople, who’ve known him since he was a boy except for the years he
was away in the military doing things he can’t talk about because they are
classified, show a man who’s loved by the people but also pitied. His life was
sad in heartbreaking ways, and nobody can do anything for him but to love him
when possible, and give him space as needed. It’s a good town full of good
people, but they believe in a lot of conspiracy theory nonsense, and they’re
scared of anything they don’t understand. This scene needs some kind of an arch
or goal. The opening hallucination is a great hook, but what does Ash want
(small wants, immediate wants) in this scene that can give it a start, middle,
and end? He wants to get his coffee and make it to the corner chair without
having to interact too often or look like he’s as unstable as he feels. Ooooo…
that’s a cool scene. Okay, so? What happens. Does he get his coffee?
No, but…
Scene opens: Ash is staring out the window, he sees shadows
move across the street and reaches for his gun, but there is no gun. There is
however a tape measure on his belt that is now in his hand. He rushes with embarrassment,
and looks around to see if anyone noticed. A few looks but the room isn’t
staring at him, so he is fine, everything is fine, “I’m not crazy”…
He practices his breathing techniques and embodiment
practices, he starts observing the last leaves of autumn fall from the trees,
one lands in a pumpkin and burns. As he watches the people passing by, does he
wonder anything about them? Does he try to remember what life was like before
he was in this condition?
A “Ned” like character sees him through the window and
starts waving and rushing over. Ash pretends not to see him, turns and asks if
his coffee is ready yet. The bariste chides him to wait his turn, but in a
friendly way. Ash picks something up off the rack to read the label just to look
distracted. The bell on the door rings and creaks as it opens. Ned makes a
beeline for Ash.
Ned: Ash.
*Ignored*
Ned: Ash.
*Ignored*
Ned: Hey buddy, (gently taps him on the shoulder).
Ash feels his back and neck tense, and a rush of prickles
through his skin. But he forces a smile and turns around, then pulls his ear
phones out, he always keeps them in, but usually nothing is playing, it simply
keeps the intrusive noises down. But it makes a great excuse to pretend you
didn’t hear someone.
Ash: (turning around and pulling one ear bud out), Hi Ned.
Didn’t see you there.
Ned: You are always in your head. So listen, (Ned rushes
before Ash can run away), we’re doing that fundraiser again and you haven’t
confirmed your table yet this year.
Ash: Is that coming up already?
Ned: The ten emails this week weren’t enough to remind you?
Ash: I don’t read emails. I only have that email address for
signing into my VA benefits portal.
Ned: You are an odd one. You’re coming right? I can put you
down for a table?
Ash: (takes a deep breath and sighs into accepting his
membership in this town), “You have been a persistent one ever since you got
your first Boy Scout popcorn tin. Sure, I’ll be there.”
Ned: Great, thanks, everyone loves your stuff.
*Ash’s name is called by the Bariste*
Ash: Sure – I gotta go buddy. *points at the pick up
counter*
Ned: Awesome, See you then. *Ned rushes off to pester
another late responder across the café*
Beat 2 - Yes (Coffee) / But No (Chair) Interrupted on the way
Ash grabs his coffee and starts walking to his corner, but as
a lady passes by holding a small yippy dog[DGW1] . The dog goes from happy and yippy to
aggressive as it passes Ash. It starts barking at Ash. Ash can see the demon
entity on the lady and another like it on the dog, and they both are staring at
him with hate in their eyes, and the dog is reacting to it. The lady is oblivious,
but simultaneously wary of Ash and embarrassed by her dogs behavior. Just as
the lady is finally moving on, the dog leaps out of her arms and starts nipping
at Ash’s pant leg. He shakes it off and grabs it by the scruff of the neck and
hands it to the lady without a word. She leaves to put the dog in a time-out in
her car. Ash begins to make a bee-line for the chair in the corner.
Beat 3 - Yes (Coffee) Yes (Chair) / But No (more intrusions) A man comes to
sit and chat
(yes) Ash sits in the chair and breathes a sigh of relief. He
made it to his chair, passed the interruptions, and he has his coffee. Ash
surveys the rooms, showing that he is wary of any environment, keeping his back
to the corner, observing all points of entry, watching people’s reactions while
trying to look uninterested. After practicing his embodiment exercises, and
putting aside a few observations of other spirit creatures in the room, he
picks up the paper or book to read.
(but) A man sits down in the chair next to Ash, with a small
coffee table in between for setting drinks. Ash notices from the corner of his
eye that the man is looking directly at him, but pretends not to notice. But
the man’s stare never wavers or shifts, so Ash finally puts the book in his
lap, holding the place with his thumb (but also positioning the book in such a
way as to use it as a weapon), and matches the man’s stare eye to eye.
Neither speak for what seems like an eternity, and Ash
raises an eyebrow, finally closing the book fully, and gripping it tighter,
ready for a full fight. The man nods to himself, and sits back a little in his
chair. Both men take a deep breath and relax a titch. The man finally speaks.
Man: I wasn’t sure it was you, but it is you. Unbelievable.
Ash: Do we know each other? My memory isn’t what it used to
be, but I don’t believe we’ve met.
Some conversation ensues that makes it seem the man wanted
to tell Ash something, but not in this busy room… He will send an invitation
later. Or maybe he tells Ash where he is staying?
There is a commotion outside, and Ash stands up, taking a
few steps away to peak out the window to see what’s happening. When he turns back
to the chairs to tell the man he’s not interested, the man is gone, but he’s
left his card on Ash’s seat. It appears that he is (something boring, but
coded? Something interesting? What?)….
Scene breaks, Ash leaves the café.
Sequel (Reaction Dilemma Decision)
Ned but The Business Card? Ash left the café a few hours
ago, frustrated that the outing had gone so poorly. He is in his workshop,
drinking liquor to numb his nerves. He pitters around the workshop trying to
see what product he has available for the winter market and what item he can
donate to the fundraiser. Unlike other makers, his word craft isn’t something
he can throw together. He can carve a few small items in an afternoon, for
funsies, but it takes him weeks for a table or chair.
All the while, the business card sits on the shelf calling
to him. He keeps trying to ignore it, his attention drawn back repeatedly,
until he finally picks it up and sits in one of his rocking chairs to read it,
looking for clues or queues. Is this a real card? Is it coded in some way? Is
there a hidden message? Is this just a sales gimmick to get him to buy into
some new Ponzi scheme? But there was something about the man, wasn’t there? A
hint of something just out of the reach of Ash’s memory, like the ghost of a
memory? Could this guy be one of his old contacts? Could he be related to an
old contact? Could this actually be a set up to take Ash down for an old
grudge? But would that even make sense? It’s been way too long, he’s been out
of the game for way too long. Could anyone alive today still care what he did
in his former occupation? Some might, especially a son or daughter, maybe.
This could be innocuous sales scheme, an old acquaintance,
or a genuine threat to his life. While remote, the possibility exists. If he
doesn’t come to meet the man, the man or his associates could show up when Ash
isn’t looking or ready. It would be better to face the issue head on. He
decides to check out the guy’s hotel room, do some recon before agreeing to
meet.
[DGW1]A
mix between a Chihuahua and a Poodle is commonly called a "Chipoo."
Sometimes it's also referred to as a Choodle, Poochi, or Chi-Poo. These
designer dogs combine characteristics from both parent breeds, leading to a
small, active, and often quite intelligent pet.
I hope you enjoyed that random tidbit. Darrell
Shalom: Live Long and Prosper!
Clifton StrengthsFinder: Intellection, Learner, Ideation, Achiever, Input
16Personalities (Myers-Briggs Type): INFJ
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